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Banjo
String instrument
Hornbostel-Sachs Classification 321.322-5
(Composite chordophone sounded by the bare fingers)
Developed 18th century

The banjo is a stringed instrument developed by enslaved Africans in the United States, adapted from several African instruments.[1] The name banjo is commonly thought to be derived from the Kimbundu term mbanza. Some etymologists derive it from a dialectal pronunciation of "bandore", though recent research suggests that it may come from a Senegambian term for a bamboo stick formerly used for the instrument's neck.[citation needed]

Contents

History

African Slaves in the American South and Appalachia fashioned banjos after instruments they had been familiar with in Africa, with some of the earliest instruments being referred to now as "gourd banjos". Other instruments similar to the banjo have existed in India (the ravanastron) and Egypt (where it was known as a banit) but other names associated with it include bangie, banza, banjer and banjar. Another likely ancestor of the banjo is the akonting, a spike folk lute played by the Jola tribe of Senegambia. Other similar instruments include the xalam of Senegal and the ngoni of the Wassoulou region including parts of Mali, Guinea, and Côte d'Ivoire.[citation needed]. It is probable that the banjo has migrated across continents, mutating from form to form for centuries. The modern banjo was popularized by the American minstrel performer Joel Sweeney in the 1830s. Banjos were introduced in Britain in the 1840s by Sweeney's group, the American Virginia Minstrels, and became very popular in music halls.[2]

Modern forms

The modern banjo comes in a variety of forms, including four- and five-string versions. A six-string version, tuned and played similar to a guitar, has been gaining popularity. In almost all of its forms, the banjo's playing is characterized by a fast arpeggiated plucking, although there are many different playing styles.

The body, or "pot", of a modern banjo typically consists of a circular rim (generally made of wood), a metal tone ring, and a tensioned head, similar to a drum head. Traditionally the head was made from animal skin, but is often made of various synthetic materials today. Some banjos have a separate resonator plate on the back of the pot, while others have an open back. There are also electric banjos.

Usage

Today, the banjo is commonly associated with country, folk and bluegrass music. Historically, however, the banjo occupied a central place in African American traditional music, as well as in the minstrel shows of the 19th century. In fact, African Americans exerted a strong, early influence on the development of both country and bluegrass through the introduction of the banjo, and as well through the innovation of musical techniques in the playing of both the banjo and fiddle.[3][4][5] Recently, the banjo has enjoyed inclusion in a wide variety of musical genres, including pop crossover music and Celtic punk.

Five-string banjo

Helmholtz notation
Note: This article uses Helmholtz pitch notation to define banjo tunings.

The instrument is available in many forms. The five-string banjo was popularized by Joel Walker Sweeney, an American minstrel performer from Appomattox Court House, Virginia.[6] In the 1830s Sweeney became the first white man to play the banjo on stage. His version of the instrument replaced the gourd body of the banjar with a drum-like sound box and included four full-length strings alongside the short fifth-string drone string. There is no proof, however, that Sweeney invented either innovation. This new banjo came to be tuned g'cgbd'. This is a feaure that forms a different mode of tuning from the e'aeg#b' tuning of the banjar (note the G# has been flattened) .

The banjo can be played in several styles and is used in various forms of music. American old-time music typically uses the five-string open back banjo. It is played in a number of different styles, the most common of which are called clawhammer or frailing, characterised by the use of a downward rather than upward motion when striking the strings with a fingernail. Frailing techniques use the thumb to catch the fifth string for a drone after each strum or twice in each action ("double thumbing"), or to pick out additional melody notes in what is known as "drop-thumb." Pete Seeger popularised a folk style by combining clawhammer with "up picking", usually without the use of fingerpicks.

Bluegrass music, which uses the five-string resonator banjo almost exclusively, is played in several common styles. These include Scruggs style, named after Earl Scruggs; melodic, or Keith style; and three-finger style with single string work, also called Reno style after Don Reno, legendary father of Don Wayne Reno. In these styles the emphasis is on arpeggiated figures played in a continuous eighth-note rhythm. All of these styles are typically played with fingerpicks.

Many tunings are used for the five-string banjo. Probably the most common, particularly in bluegrass, is the open G tuning (g'dgbd'). In earlier times, the tuning gCGBd was commonly used instead. Other tunings common in old-time music include double C (g'cgc'd'), sawmill or mountain minor (g'dgc'd') also called Modal or Mountain Modal, old-time D (a'dad'e') a step up from double C, often played with a violin accompaniment, and open D (f#'df#ad'). These tunings are often taken up a tone, either by tuning up or using a capo.

The fifth (drone) string is the same gauge as the first, but it is generally five frets shorter, three quarters the length of the rest. One notable exception is the long-necked Pete Seeger model, where the additional three frets are not added to the fifth string. The short fifth string means that unlike many string instruments, the strings on a five string banjo do not go in order from lowest to highest from one side of the neck to the other. Instead, in order from low to high the strings are the fourth, third, second, first, and then fifth.

The short fifth string presents special problems for using a capo to change the pitch of the instrument. For small changes (going up or down one or two semitones, for example) it is possible simply to re-tune the fifth string. Otherwise various devices, known as fifth string capos, are available effectively to shorten the string. Many banjo players favour the use of model railroad spikes or titanium spikes (usually installed at the seventh fret and sometimes at others), under which the string can be hooked to keep it pressed down on the fret.

While the five-string banjo has been used in classical music since the turn of the century, contemporary and modern works have been written for the instrument by Béla Fleck, Tim Lake, George Crumb, Modest Mouse, Jo Kondo, Paul Elwood, Hans Werner Henze (notably in his Sixth Symphony), Beck, J.P. Pickens, Peggy Honeywell, Norfolk & Western,The Avett Brothers and Sufjan Stevens. Chris Thile recently composed an extended suite for bluegrass instruments, including the banjo, called "The Blind Leaving the Blind" (Punch, 2008).

While the size of the five string banjo is largely standardized, there are smaller and larger sizes available, including the 'long neck' or 'Seeger neck' variation discussed above. Petite variations on the 5-string banjo have been available since the 1890s. S.S. Stewart introduced the banjeaurine, tuned one fourth above a standard five-string. Piccolo banjos are smaller, and tuned one octave above a standard banjo.

Four-string banjo

The plectrum banjo has four strings, lacking the shorter fifth drone string, and around 22 frets; it is usually tuned cgbd'. As the name suggests, it is usually played with a guitar-style pick (that is, a single one held between thumb and forefinger), unlike the five-string banjo, which is either played with a thumbpick and two fingerpicks, or with bare fingers. The plectrum banjo evolved out of the five-string banjo, to cater to styles of music involving strummed chords. Eddie Peabody was possibly the greatest proponent of the plectrum banjo style in the early to mid twentieth century. Rhapsody in Blue by George Gershwin, in its original jazz orchestra arrangement has a part for a plectrum banjo. The plectrum is also featured in many early jazz recordings and arrangements.

A further development is the tenor banjo, which also has four strings and is also typically played with a plectrum. It has a shorter neck with around 19 frets and a scale length of 21 3/4" - 23" on shorter models, and 25 1/2" to 26 3/4" on longer ones. It is usually tuned cgd'a', like a viola or mandola, but has also been tuned Gdae′ like an octave mandolin which produces a more mellow tone. Tenor Banjos also come in short scale with 17 frets and are used by players who use fiddle fingering, in the Gdae′ tuning. These tunings became popular around the turn of the century due to the growing popularity of the mandolin. Another alternative, called "Chicago" tuning is dgbe' (like the first four strings of a guitar) which is now regaining popularity due to the number of guitarists who double on banjo. The tenor banjo has become a standard instrument for Irish traditional music.

The tenor banjo was also a common rhythm instrument in early jazz and dance bands throughout the 1920s and 1930s. Its volume and timbre suited early jazz (and jazz-influenced popular music styles) and could both compete with other instruments (such as brass instruments and saxophones) and be heard clearly on acoustic recordings. However, as the guitar gained in popularity in the 1930s, the tenor banjo moved out of mainstream jazz and popular music finding a place in traditional jazz and Dixieland jazz.

Harry Reser was arguably the best tenor banjoist of the early twentieth century and wrote a large number of works for tenor banjo as well as instructional material.

The tenor banjo is regaining popularity as Dixieland jazz finds its way back into experimental improvisational music. Its rise to popularity is being supported by the recent manufacturing of tenors at a working musician's price.

Rarer than either the tenor or plectrum banjo is the cello banjo. Normally tuned CGda, one octave below the tenor banjo, it matches the cello and mandocello in range. It played a role in banjo orchestras in the late nineteenth and early twentieth centuries.

Bass banjos have been produced in both upright bass formats and with standard, horizontally-carried banjo bodies.

Four-string banjo playing (in addition to rhythm playing) can include single string playing, chord melody (in which a succession of chords are played where the highest note forms a melody), a tremolo style (both of chords and single strings) and a complicated technique called duo style which combines single string tremolo and rhythm chords.

Roy Smeck was an influential performer on many fretted instruments including banjo. He also wrote a number of solos and instructional books. In the United Kingdom, Frank Lawes was one of the most prolific composers of four string Banjo music. Johnny Biar and Buddy Wachter are prominent four-string banjoists currently working professionally.

Banjo variants

A British innovation was the 6-string banjo, developed by William Temlett, one of England's earliest banjo makers, who opened his shop in London in 1846. American Alfred Davis Cammeyer (1862-1949), a young violinist-turned banjo concert player, devised the 5/6-string Zither banjo around 1880, which had a wood resonator and metal "wire" strings (the 1st and 2nd melody strings and 5th "thumb" string; the 3rd melody string was gut and the 4th was silk covered) as well as frets and guitar-style tuning machines. A Zither banjo is a 5 string banjo that has 6 tuning heads because they used guitar tuning heads which at that time contained 3 tuning heads in one solid piece. The banjos could also be somewhat easily converted over to a 6 string banjo. British opera diva Adelina Patti advised Cammeyer that the zither-banjo might be popular with English audiences, and Cammeyer went to London in 1888. After convincing the British that banjos could be used for more sophisticated music than was normally played by blackface minstrels, he was soon performing for London society, where he met Sir Arthur Sullivan, who recommended that Cammeyer progress from writing banjo arrangements of music to composing his own music. (Interesting to note that, supposedly unbeknownst to Cammeyer, William Temlett had patented a 7-string closed back banjo in 1869, and was already marketing it as a "zither-banjo.") In the early 1990s Scott Vestal and Phil Davidson developed a modern 5-string version of the zither banjo with the 5th string "tunnelled" through the neck. It is arguable that Arthur O. Windsor had much influence in creating and perfecting the Zither banjo and creating the open-back banjo [7] along with other modifications to the banjo type instruments, such as the non-solid attached resonator that banjos' today have (Gibson lays claim to this modification on the American Continent). Windsor claims to be the first in creating the hollow neck banjo with a truss rod, and he buried the 5th string in the neck after the 5th fret so to put the tuning peg on the peg-head rather than in the neck. Gibson lays claim to perfecting the banjo with the tone rings.

The first 5-string electric solid-body banjo was developed by Charles (Buck) Wilburn Trent, Harold "Shot" Jackson, and David Jackson in 1960.

The six-string or guitar-banjo was the instrument of the early jazz great Johnny St. Cyr, as well as of jazzmen Django Reinhardt, Danny Barker, Papa Charlie Jackson and Clancy Hayes, as well as the blues and gospel singer The Reverend Gary Davis. Nowadays, it sometimes appears under such names as guitanjo, guitjo, ganjo, banjitar, or bantar.

A number of hybrid instruments exist, crossing the banjo with other stringed instruments. Most of these use the body of a banjo, often with a resonator, and the neck of the other instrument. Examples include the banjo mandolin, the Banjolin, and the banjo ukulele or banjolele. These were especially popular in the early decades of the twentieth century, and were probably a result of a desire either to allow players of other instruments to jump on the banjo bandwagon at the height of its popularity, or to get the natural amplification benefits of the banjo resonator in an age before electric amplification.

Instruments using the five-string banjo neck on a wooden body (for example, that of a bouzouki or resonator guitar) have also been made, such as the banjola. A 20th-Century Turkish instrument very similar to the banjo is called cümbüs.

Rhythm guitarist Dave Day of 1960's proto-punks The Monks replaced his guitar with a six-string, gut-strung banjo upon which he played guitar chords. This instrument sounds much more metallic, scratchy and wiry than a standard electric guitar, due to its amplification via a small microphone stuck inside the banjo's body.

References

  1. ^ Bluegrass Music: The Roots." IBMA. Retrieved on 2006-08-25
  2. ^ Information on the banjo and development of the Zither-banjo
  3. ^ Winship, David."The African American Music Tradition in Country Music." BCMA, Birthplace of Country Music Alliance. Retrieved 02-08-2007.
  4. ^ Conway, Cecelia (2005). African Banjo Echoes in Appalachia. The University of Tennessee Press. pp. 424. 
  5. ^ "Old-time (oldtimey) Music What is it?." TML, A Traditional Music Library. Retrieved 02-08-2007.
  6. ^ Metro Voloshin, The Banjo, from Its Roots to the Ragtime Era: An Essay and Bibliography Music Reference Services Quarterly, Vol. 6(3) 1998.
  7. ^ [1]

See also

Further reading

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Banjo history

  • Conway, Cecelia (1995). African Banjo Echoes in Appalachia: A Study of Folk Traditions, University of Tennessee Press. Paper: ISBN 0-87049-893-2; cloth: ISBN 0-87049-892-4. A study of the influence of African Americans on banjo playing throughout U.S. history.
  • Gura, Philip F. and James F. Bollman (1999). America's Instrument: The Banjo in the Nineteenth Century. The University of North Carolina Press. ISBN 0-8078-2484-4. The definitive history of the banjo, focusing on the instrument's development in the 1800s.
  • Katonah Museum of Art (2003). The Birth of the Banjo. Katonah Museum of Art, Katonah, New York. ISBN 0-915171-64-3.
  • Linn, Karen (1994). That Half-Barbaric Twang: The Banjo in American Popular Culture. University of Illinois Press. ISBN 0-252-06433-X. Scholarly cultural history of the banjo, focusing on how its image has evolved over the years.
  • Tsumura, Akira (1984). Banjos: The Tsumura Collection. Kodansha International Ltd. ISBN 0-87011-605-3. An illustrated history of the banjo featuring the world's premier collection.
  • Webb, Robert Lloyd (1996). Ring the Banjar!. 2nd edition. Centerstream Publishing. ISBN 1-57424-016-1. A short history of the banjo, with pictures from an exhibition at the MIT Museum.

Instructional (5-String Banjo)

  • Old Time Banjo Free frailing banjo instructional video with Pat & Patrick Costello
  • Bailey, Jay. "Historical Origin and Stylistic Development of the Five-String Banjo." The Journal of American Folklore 85.335 (1972): 58-65.
  • Costello, Patrick (2003). The How and the Tao of Old Time Banjo. Pik-Ware Publishing. ISBN 0-9744190-0-1. Instruction in frailing banjo. Available online under a Creative Commons license on several web sites including ezfolk.
  • Richards, Tobe A. The Bluegrass Banjo Chord Bible: Open G Tuning 2,160 Chords. Cabot Books (2008) ISBN 978-1-906207-08-3. Comprehensive chord dictionary featuring 2,160 chords, moveable shapes, slash chords, tuning diagrams, historical fact-file etc. 94 pages.
  • Scruggs, Earl. "Earl Scruggs and the 5-String Banjo". Hal Leonard Corporation. ISBN 0-634-06042-2. Instruction in Scruggs or 3 finger style 5 string banjo.
  • Seeger, Mike (2005). "Old-Time Banjo Styles". Homespun Tapes. OCLC 32193876. Seeger teaches several old-time picking techniques - clawhammer, two-finger, three-finger, up-picking and others.
  • Seeger, Pete (1969). How to Play the 5-String Banjo. 3rd edition. Music Sales Corporation. ISBN 0-8256-0024-3. The seminal instruction book, still in print decades later. Seeger has since recorded an instruction video, available on DVD.
  • Wernick, Pete (1985 DVD). Beginning Bluegrass Banjo. Full course in the basics of Scruggs style.
  • Wernick, Pete & Trischka, Tony (2000). Masters of the Five-String Banjo. Acutab Publications. ISBN 0-7866-5939-4. 70 banjo pieces from Scruggs, Reno, Osborne and Crowe to Fleck, Munde, and Cloud. Technique, improvising, set-up, learning, backup, favorite banjos, practice tips, equipment.
  • Winans, Robert B. "The Folk, the Stage, and the Five-String Banjo in the Nineteenth Century." The Journal of American Folklore 89. 354 (1976): 407-37. 14 Sep. 2006.

Instructional (Tenor Banjo)

  • Bay, Mel (1990). Complete Tenor Banjo Method. Porcupine Press. ISBN 1-56222-018-7. An instructional guide.
  • Bay, Mel (1973). Deluxe Encyclopedia of Tenor Banjo Chords. Porcupine Press. ISBN 0-87166-877-7. A comprehensive chord dictionary for CGDA or standard tuning.
  • Nichols, Fox (1985). "I Do Declare That Tenors Are Cool: But They are for Chumps". Grill Books. ISBN 0-756842-445-1. A comprehensive guide for dislikement of tenors.
  • O'Connor, Gerry. 50 solos for Irish tenor banjo: (featuring jigs, reels and hornpipes arranged for E, A, D, G and A, D, G, C tuning). Soodlum, Waltons Mfg. Ltd. ISBN 978-1857201482.
  • Richards, Tobe A. (2006). The Tenor Banjo Chord Bible: CGDA Standard Jazz Tuning 1,728 Chords. Cabot Books. ISBN 0-9553944-4-9. A comprehensive chord dictionary in standard jazz tuning.
  • Richards, Tobe A. (2006). The Irish Tenor Banjo Chord Bible: GDAE Irish Tuning 1,728 Chords. Cabot Books. ISBN 0-9553944-6-5. A comprehensive chord dictionary in Irish tuning.
  • Wachter, Buddy (2005). Learning Tenor Banjo. Homespun. ISBN 1-59773-078-5. An instructional guide.

Instructional (Plectrum Banjo)

  • Richards, Tobe A. (2007). The Plectrum Banjo Chord Bible: CGBD Standard Tuning 1,728 Chords. Cabot Books. ISBN 978-1-906207-07-6. A comprehensive chord dictionary in standard tuning.

External links



Wiktionary

Up to date as of January 15, 2010

Definition from Wiktionary, a free dictionary

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Wikipedia has an article on:

Wikipedia

See also Banjo, and banjô

Contents

English

A bluegrass banjo

Etymology

Probably from Kimbundu mbanza.

Pronunciation

Noun

Singular
banjo

Plural
banjos or banjoes

banjo (plural banjos or banjoes)

  1. (music) A stringed musical instrument with a round body and fretted neck, played by plucking or strumming the strings.
    I come from Alabama with my banjo on my knee ...

Derived terms

Translations

Verb

Infinitive
to banjo

Third person singular
banjos

Simple past
banjoed

Past participle
banjoed

Present participle
banjoing

to banjo (third-person singular simple present banjos, present participle banjoing, simple past and past participle banjoed)

  1. To play the banjo
  2. (slang, British) To beat; to knock down
    • 1989, Susan S. M. Edwards, Policing 'domestic' Violence: Women, the Law and the State, page 95
      Admitting the assault, the husband said that he had given her a 'banjoing' but that she had asked for it.
    • 1998, "Fergie's world just gets Madar."(Sport), Sunday Mailm Jan 4, 1998
      Madar was turfed out on a final misdemeanour of banjoing one of his teammates in training before a big game
    • 2007, "Return of Smeato, the extraordinary hero", Times Online, Jul 31, 2007
      "Me and other folk were just trying to get the boot in and some other guy banjoed [decked] him”.

Finnish

(index b)

Wikipedia-logo.png
Finnish Wikipedia has an article on:
Banjo

Wikipedia fi

Pronunciation

  • Hyphenation: ban‧jo

Noun

banjo

  1. banjo

Declension


Italian

Noun

banjo m. inv.

  1. (music) banjo

Spanish

Noun

banjo m. (plural banjos)

Singular
banjo m.

Plural
banjos m.

  1. banjo

Swedish

Noun

Inflection for banjo Singular Plural
common Indefinite Definite Indefinite Definite
Base form banjo banjon banjor banjorna
Possessive form banjos banjons banjors banjornas

banjo c.

  1. (music) banjo

West Frisian

Noun

banjo (pl.: banjo's)

  1. (music) banjo

Simple English

The banjo is a string instrument, that was first played by African slaves a few hundred years ago in the United States. The idea came from other African instruments. [1] The name banjo may have come from a Kimbundu word: mbanza, but it could have also come from a Senegambian word for the bamboo stick used for the banjo's neck.

Contents

References

  1. Bluegrass Music: The Roots." IBMA. Retrieved on 2006-08-25

Other pages

Further reading

Banjo history

  • Conway, Cecelia (1995). African Banjo Echoes in Appalachia: A Study of Folk Traditions, University of Tennessee Press. Paper: ISBN 0-87049-893-2; cloth: ISBN 0-87049-892-4. A study of the influence of African Americans on banjo playing throughout U.S. history.
  • Gura, Philip F. and James F. Bollman (1999). America's Instrument: The Banjo in the Nineteenth Century. The University of North Carolina Press. ISBN 0-8078-2484-4. The definitive history of the banjo, focusing on the instrument's development in the 1800s.
  • Katonah Museum of Art (2003). The Birth of the Banjo. Katonah Museum of Art, Katonah, New York. ISBN 0-915171-64-3.
  • Linn, Karen (1994). That Half-Barbaric Twang: The Banjo in American Popular Culture. University of Illinois Press. ISBN 0-252-06433-X. Scholarly cultural history of the banjo, focusing on how its image has evolved over the years.
  • Tsumura, Akira (1984). Banjos: The Tsumura Collection. Kodansha International Ltd. ISBN 0-87011-605-3. An illustrated history of the banjo featuring the world's premier collection.
  • Webb, Robert Lloyd (1996). Ring the Banjar!. 2nd edition. Centerstream Publishing. ISBN 1-57424-016-1. A short history of the banjo, with pictures from an exhibition at the MIT Museum.

Instructional (5-string Banjo)

  • Bailey, Jay. "Historical Origin and Stylistic Development of the Five-String Banjo." The Journal of American Folklore 85.335 (1972): 58-65.
  • Costello, Patrick (2003). The How and the Tao of Old Time Banjo. Pik-Ware Publishing. ISBN 0-9744190-0-1. Instruction in frailing banjo. Available online under a Creative Commons license on several web sites including ezfolk.
  • Scruggs, Earl. "Earl Scruggs and the 5-String Banjo". Hal Leonard Corporation. ISBN 0-634-06042-2. Instruction in Scruggs or 3 finger style 5 string banjo.
  • Seeger, Mike (2005). "Old-Time Banjo Styles". Homespun Tapes. Seeger teaches several old-time picking techniques - clawhammer, two-finger, three-finger, up-picking and others.
  • Seeger, Pete (1969). How to Play the 5-String Banjo. 3rd edition. Music Sales Corporation. ISBN 0-8256-0024-3. The seminal instruction book, still in print decades later. Seeger has since recorded an instruction video, available on DVD.
  • Wernick, Pete (1985 DVD). Beginning Bluegrass Banjo. Full course in the basics of Scruggs style.
  • Wernick, Pete & Trischka, Tony (2000). Masters of the Five-String Banjo. Acutab Publications. ISBN 0-7866-5939-4. 70 banjo pieces from Scruggs, Reno, Osborne and Crowe to Fleck, Munde, and Cloud. Technique, improvising, set-up, learning, backup, favorite banjos, practice tips, equipment.
  • Winans, Robert B. "The Folk, the Stage, and the Five-String Banjo in the Nineteenth Century." The Journal of American Folklore 89. 354 (1976): 407-37. 14 Sep. 2006.

Instructional (Tenor Banjo)

  • Bay, Mel (1990). Complete Tenor Banjo Method. Porcupine Press. ISBN 1-56222-018-7. An instructional guide.
  • Bay, Mel (1973). Deluxe Encyclopedia of Tenor Banjo Chords. Porcupine Press. ISBN 0-87166-877-7. A comprehensive chord dictionary for CGDA or standard tuning.
  • Nichols, Fox (1985). "I Do Declare That Tenors Are Cool: But They are for Chumps". Grill Books. ISBN 0-756842-445-1. A comprehensive guide for dislikement of tenors.
  • O'Connor, Gerry. 50 solos for Irish tenor banjo: (featuring jigs, reels and hornpipes arranged for E, A, D, G and A, D, G, C tuning). Soodlum, Waltons Mfg. Ltd. ISBN 978-1857201482.
  • Richards, Tobe A. (2006). The Tenor Banjo Chord Bible: CGDA Standard Jazz Tuning 1,728 Chords. Cabot Books. ISBN 0-9553944-4-9. A comprehensive chord dictionary in standard jazz tuning.
  • Richards, Tobe A. (2006). The Irish Tenor Banjo Chord Bible: GDAE Irish Tuning 1,728 Chords. Cabot Books. ISBN 0-9553944-6-5. A comprehensive chord dictionary in Irish tuning.
  • Wachter, Buddy (2005). Learning Tenor Banjo. Homespun. ISBN 1-59773-078-5. An instructional guide.

Instructional (Plectrum Banjo)

  • Richards, Tobe A. (2007). The Plectrum Banjo Chord Bible: CGBD Standard Tuning 1,728 Chords. Cabot Books. ISBN 978-1-906207-07-6. A comprehensive chord dictionary in standard tuning.

Other websites

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